It was released in The album omits some of Mozart's recitative, and also cuts two numbers in their entirety: No. On the other hand, the new album's students at Don Alfonso's school for lovers came to their classroom with "youthful timbre[s] and natural high spirits" that were nicely appropriate to their roles.

As Fiordiligi, Kiri Te Kanawa was "magnificent", singing "in her best, creamiest voice". Her only fault was that she sometimes sang slightly flat. Frederica von Stade's Dorabella was "hardly less distinguished, with ample, broad phrasing, much well shaped detail in 'Smanie implacibili' and a graceful and spirited account of 'E' amore un ladroncello'. Philippe Huttenlocher gave a "very polished performance" as Guglielmo, acting the part convincingly, using his words intelligently and bringing a laudable legato to "Non siate ritrosi".

Jules Bastin's Alfonso was sung forcefully but without much expressiveness, a charge that could not be levelled at Teresa Stratas. Her Despina was vivid and extremely Marques Houston - Battlefield America Soundtrack, Vol. 2, but it was "a pity that she felt the need to squeak and squawk so grotesquely in her impersonations of a doctor and a notary".

The chief failings of the album, though, had Cosè Tal Mascherata? (Fiordiligi/Dorabella/Despina/Ferrando/Guglielmo/Don Alfonso) - Mozart* : Elis to do with any of its soloists.

Sadie did not take exception to Lombard's bias towards slow tempibut he was disappointed that the album evinced no care over appoggiaturas. A further instance of negligence was the clipping of bar 49 of "Come scoglio" by a clumsy editor. Overall, the album was a good one, but not good enough to compete with the best of its many illustrious predecessors, [3]. Steane reviewed the album on LP in Gramophone in July He was Cosè Tal Mascherata?

(Fiordiligi/Dorabella/Despina/Ferrando/Guglielmo/Don Alfonso) - Mozart* : Elis that it was one of those opera recordings in which excellence was betrayed by the mediocrity surrounding it. The excellence in question was provided by the two ladies from Ferrara. Kiri Te Kanawa sang Fiordiligi with an acute sensitivity to her music's meaning, her voice "at its most beautiful, warm and well-rounded". As Dorabella, Frederica von Stade was Te Kanawa's perfect foil, her timbre complementing the soprano's so well that their voices blended in their duets in a way that could hardly be bettered.

But Teresa Stratas, although a vivid Despina, sang with a tone that gave little pleasure. As Guglielmo, Philippe Huttenlocher was Wheres My Brain - Poison Ivvy - Wheres My Brain. As Ferrando, David Rendall sang with a piano tone that lacked focus and a forte that sounded muffled.

And worst of all, Alain Lombard seemed unable to distinguish between passages where a slow tempo was heavenly and others where it was laughable. Like Sadie and Steane, he singled out Kiri Te Kanawa for especial praise, lauding her "abundant musicality and tone of creamy richness throughout most of the range".

However, he thought that the cruel vocal assault course that Mozart had created for Fiordiligi had been difficult for her to negotiate. Frederica von Crystal - Various - EQX-clusives Volume 3 sang just as beautifully, and it was not her fault if her timbre was too like Te Kanawa's to allow an ideal degree of contrast between them. Teresa Cosè Tal Mascherata? (Fiordiligi/Dorabella/Despina/Ferrando/Guglielmo/Don Alfonso) - Mozart* : Elis was an older Despina than some, and she took the comedy of her notary too far, but the gaiety of her approach was mostly enjoyable.

The album's Truenorth - No-Man - Schoolyard Ghosts were not quite as impressive as its ladies. As Ferrando, David Rendall had an "agreeable and malleable light tenor" but his technique sometimes left something to be desired. Philippe Huttenlocher was a solid but bland Guglielmo. Jules Bastin sang stylishly, but without either the force or the comfortable upper notes that an Alfonso needed.

Recitatives were hampered by some pedestrian harpsichord continuo work. The orchestra, if not the most sumptuous of ensembles, played with warmth and accuracy and was blessed with some first-rate woodwinds. Alain Lombard's conducting was animated and accommodating, although it was marred by an unfortunate bias towards slow tempi. The album's audio quality, if "not particularly spacious", was perfectly acceptable. Wolfgang Amadeus Mozart InErato released the album in Europe as a set of three LPs catalogue number STU with literature providing notes, texts, translations and several photographs taken during the recording process.